Baroness Bonham-Carter of Yarnbury: My Lords, I add my thanks to the noble Lord, Lord Bragg—I hope I can say my noble friend Lord Bragg—for this debate. I draw attention to my interests as declared in the register.
All who have spoken, led so eloquently by the noble Lord, Lord Bragg, have expressed a clear sense of the true value of arts and culture, and of the creative industries they support. What is needed, as the noble Lord, Lord Cashman, said, is to ensure that this value is properly woven into government policy, and it is certainly not at the moment. The funding system for the arts is broken at central, local and Arts Council levels. Central Treasury funding for culture has seen a 40% reduction since 2008. Alongside this, local authorities have also been subject to a 40% real-terms reduction which means, due to the necessary prioritising of statutory responsibilities, that cuts have fallen disproportionately on arts organisations.
Supporting local culture is not a cost; it is an investment. Having listened to the noble Lord, Lord Vaizey, I have jettisoned the figures I was going to express as he said that they were not to be listened to. Then there are the less tangible and less measurable contributions, as mentioned by my noble friends Lady Miller and Lady Bakewell. Engaging in culture enhances individuals’ lives, providing young people with opportunities to channel their creativity and energy. It combats loneliness and both physical and mental health issues, as the noble Lord, Lord Howarth, so eloquently put it.
Many people need statutory services because they have been deprived of what makes them feel good, and of what the arts can provide. Cutting funding for the arts is a false economy, in every sense of the word. I cannot make a speech about the arts without mentioning Peter Bazalgette, the former chair of the Arts Council, who said:
“The arts create empathetic citizens, putting us through storytelling in the shoes of others, and is society’s glue, urging us to positive action”.
Witness “Mr Bates vs The Post Office”, as the noble Baroness, Lady McIntosh, mentioned,
I am a trustee of the Lowry in Salford, a prime example of the important contribution that local culture makes to a community. Not so long ago, the Salford Quays was a place of derelict, disused docks. Now it is  a thriving, creative hub. What was behind this regeneration? It was an artist who inspired a gallery, and a performing arts centre with a great building and with a mission to involve, include and inspire the local community. Most importantly, the city council had the foresight and commitment to support this vision. Over the years, the Lowry has forged almost 30 community partnerships across Salford and Greater Manchester, and has contributed a deep, diverse and long-lasting impact on local lives through educational volunteering and community-engagement programmes. Will the Minister please take note of the excellent LGA report Cornerstones of Culture, which recommends a return to local decision-making when shaping cultural provision?
The point about the importance of listening to local government and local institutions is exemplified by what happened in the latest Arts Council funding round. The Arts Council, set up by John Maynard Keynes—a very good Liberal and a very good economist—had, as its first priority, that while money for the arts came from the public purse, the independence of artists and arts organisations would be protected at all costs. As the noble Lord, Lord Bragg, so forcefully explained, this arm’s-length principle was destroyed by this Government when ACE was issued a directive by a recent Secretary of State to redistribute funding from London to the regions, as a part of the Government’s agenda for levelling up.
Let us go back to the Lowry. The National Theatre’s commitment to touring and the Lowry’s role as its home venue in the north-west have meant that local audiences have experienced some of the most celebrated theatre productions of the last 20 years. But what is happening now? Exactly what those who run provincial arts centres predicted. Deprived of resources, our national arts organisations have got rid of their touring commitments, so they will inevitably become more entrenched in their London bases. The result could not be further away from levelling up. Does the Minister not agree that it is essential we return to the arm’s-length principle?
As so many noble Lords have said, the arts must be returned to centre stage in our education system. STEM, not STEAM, has been the Conservative mantra, and as the noble Lords, Lord Aberdare and Lord Wood, said, the Government persist in supporting the EBacc, ignoring the fact that there should not be a choice between arts and science. Interestingly, the DfE recently announced that James Dyson has made a £6 million donation to build a science, technology, engineering and arts centre in a school in Wiltshire. Note the inclusion of arts—he is supporting STEAM. It is curious that in celebrating this in her press release, the Secretary of State welcomes only that it is STEM. James Dyson was educated at the Royal College of Art before becoming one of our most successful inventors, success that lies in the fusion of his creative and technological skills.
To pick up on the point that the noble Lord, Lord Bragg, made about the Industrial Revolution, it was this very fusion that the Victorians understood. They had a Science and Art Department. I have just learned about Sir Humphry Davy, one of the most extraordinary scientific minds of that time, who discovered nine elements of the periodic table and was a pioneer  in the field of electrolysis but also a poet. In his fascinating notebooks, his poetry and scientific explorations are all muddled together, influencing each other. He lived in a time when there was no dividing line between the arts and science. There still should not be. Does the Minister agree? On which point, will he let us know when the cultural education plan, the panel on which is chaired by the noble Baroness, Lady Bull, will be published, and will it have financial backing?
On the matter of skills, the creative industries are a world of freelancers, and in some sectors this is as high as 80%. However, the UK’s tax and social security framework is not set up to effectively support freelancers, which means that an alarming number of people are leaving the sector. It exacerbates inequalities in the industry, and in particular the loss of diverse talent. Does the Minister agree that what is needed is a freelance commissioner, as recommended by the Creative Diversity APPG, of which the noble Lord, Lord Vaizey, and I are both members?
Finally, there is the calamitous consequence of Brexit, as mentioned by my noble friend Lady Garden and the noble Earl, Lord Clancarty. There have been issues with complicated paperwork, carnets, cabotage—new words—visas, and costs, costs, costs; music touring has gone up by 30% to 40%, and theatre by an average of 20%. Visual artists—not often heard—are also experiencing problems, as is fashion. It is all the same story: so much red tape involved in moving goods, in sales and exhibitions, and in the freedom of movement of people. Does the Minister agree with the noble Lord, Lord Frost, our chief Brexit negotiator, that his trade deal
“failed touring musicians and other artists by inflicting punishing costs and red tape”?
Like the noble Lords, Lord Bragg and Lord Kinnock, I despair of this Government, although not of the Minister. Whoever the next Government are, they need to be as bold as Keynes was in 1946 with the Arts Council; as bold as Jennie Lee in 1964, the first Minister for the Arts; as bold as John Major in 1992 with the Department of National Heritage and the first Cabinet post for an Arts Minister; and as bold as Chris Smith—now the noble Lord, Lord Smith of Finsbury—in 1997, with free museums and galleries. They need to stand up for the arts and culture, for all the reasons the many speakers in this debate have mentioned. We need joined-up education and skills development, the reopening of negotiations with the EU, and joined-up funding and a return to the arm’s-length principle.
John Maynard Keynes said:
“the work of the artist in all its aspects is, of its nature, individual and free, undisciplined, unregimented, uncontrolled … But he leads the rest of us into fresh pastures and teaches us to love and to enjoy what we often begin by rejecting, enlarging our sensibility and purifying our instincts”.
Long may the creative industry that is the noble Lord, Lord Bragg, lead us in debates such as this.